(1) How long have you been making installations?
Starting several times (installing)
from 1948- graphic works, 1957- photos, 1967- sculptures (wood, ceramics, stone), 1967- photograms, 1968- enamel, 1988- collages, 1990- electrographics, 1992- wire brush pictures, 1994- “stamp”-cuttings, -collages, 1995- ironing of carbon papers, Network, mixed techniques
(2) Why did you choose to make installations and not anything else?
Because of sensibility for the new, searching for new ways of expression.
(3) What do you think of your own works?
Occassionally it disturbes me that my works (luckily) cannot be labelled.
(4) What do you think the difference is between your own work and other installations?
I have no information enough.
(5) What do you think of the relationship of traditional artwork and installation?
Installation is caused by the changing of the views and the environment.
(6) What is the size and material of an installation determined by?
It is not tied, therefore not determined.
(7) Could you mention the installation you consider to be the largest and the smallest one?
No.
(8) Is there any object or idea that cannot be installed?
No, there isn't.
(9) How does environment affect the installation of the work?
Determinantly.
(10) Do you know any fact that restricts the possibilities of installation?
The straitlacedness, the museum-type conventional judging of (any kinds of) artworks.
(11) Do you like making installation for order or at request?
Yes, at request in the Network. I have never had any orders in my life.
(12) What do you think of preserving an installation?
It is not always easy. It needs thorough - mainly technical - grounding.
(13) Can the value of an installation be estimated and how?
Yes, it can - paradoxically with the old, traditional methods, so far.
(14) How does copyright apply to installations preserved only in documents?
I don' know - but copyright seems to fade away.